By Manning Harris
I see a lot of plays in Atlanta, and sometimes New York. It’s rare that one truly stops me in my tracks. This past November a theatre-savvy friend advised me not to miss Georgia Ensemble Theatre’s production of Bernard Pomerance’s play “The Elephant Man,” directed by David Crowe, with a young actor named Jonathan Horne playing the lead. “If you don’t go,” my friend said, “you’ll probably miss the best play in Atlanta this year.”
I’m so grateful I followed his advice, for I was stunned by the play and especially Horne’s performance as John Merrick. I reviewed the play for Atlanta INtown, which you can read at this link. I saw it twice; the second time I had a front row seat and was so moved I teared up about half the time. And I became a confirmed fan of the power and artistry of the 30-year-old Horne.
Yes, theatre critics can be fans, if they love the art form; and if they don’t love it, why bother? As it happens, I had seen Horne once before, playing Mercutio in Shakespeare Tavern’s 2013 version of “Romeo and Juliet,” and had written in my review that “Mr. Horne had all the subtlety, irony, and power” that the role demands. But not until “The Elephant Man” did I realize the magnitude of his talent; I missed, to my eternal regret, his “Hamlet” performed later in 2013 at the Tavern. I hope he will do again.
To say that Horne has been busy in 2015 is putting it mildly. He performed in a fund raiser for Aris Theatre called “Celtic Shorts,” in which he appeared in a two character contemporary piece called “Stop/Over.” He was electrifying, sexy, and a little menacing—just the combination a lot of casting directors look for.
Then back to the Tavern playing Lucentio in “The Taming of the Shrew”; the title role in a brilliant production of Shakespeare’s tragic political power play “Coriolanus”; next, Orlando, the romantic lead in this summer’s “As You Like It”; and in September he’ll play the villainous Iachimo in “Cymbeline,” one of the Bard’s late romances.
In the fall comes a big one: Horne will play Romeo at Georgia Ensemble, the scene of his “Elephant Man” triumph. This production has a stellar cast, and I predict it will be an event; put it on your calendar. You can thank me later.
It seems fitting that Horne was born in Asheville, N.C., a city so much associated with the arts. But he was raised and educated in the Atlanta area. He has a supportive, encouraging mother and father (many actors don’t, you know), and a younger brother and sister; this past January he married a beautiful young woman named Laura, an artist, writer, and graphic designer, who is easily his biggest fan.
Most telling, perhaps, some of Horne’s biggest supporters are his co-professionals, especially directors and actors. Listen to David Crowe, one of Atlanta’s most respected directors, a man whom Horne calls a “precise, sensitive, humble visionary”: “He (Horne) is a remarkably talented and intuitive actor who isn’t afraid of rolling up his sleeves and working hard. He’s been so successful, I believe, because he combines his considerable raw talent with an unwavering work ethic. He’s also a great presence in the rehearsal room—a thoughtful and extremely generous collaborator.”
Crowe’s sentiments are echoed and amplified by Heidi Cline McKerley, one of the city’s finest directors and actors: “Jonathan came into “Hamlet” (which she directed) as one of the most prepared actors I’ve ever worked with. He was completely off book (he knew his lines), had done a great deal of research and was ready to play, take risks, and push himself to the emotional and intellectual depths that the role requires…He is resoundingly my kind of actor—incredible work ethic, a tireless inventor, quick to play ensemble with his castmates, and exceptionally kind…
“He’s also very hard on himself, which is an area I relate to as an actor. I always want to be better, and so does he. During “Coriolanus” (McKerley played Volumnia, his mother) he was always very present…There was never a time that I looked into his eyes onstage that I felt he was anywhere but right there, in the moment, fully with me. Our relationship as Volumnia and Coriolanus evolved with every performance…I want to grow every chance we get to be on the boards playing those intentions, telling that story…”
If, by chance, you are an aspiring actor, I would read Crowe’s and McKerley’s words very carefully; you’ll learn a lot. Incidentally, she will play the Nurse to Horne’s Romeo in the fall. Crowe will direct: Don’t miss.
Horne also does films; he was in the delightfully wacky award-winning indie “Atlanta Zombie Apocalypse: The Movie,” among others, which I saw and enjoyed tremendously. When asked, as all serious actors are, would he do Broadway or more films, he said, “I would love to if the opportunity presents itself. I love film; I love TV—the intimacy of film.” He also knows the scary odds against big time success in this field. But he’s not worried; he’s too busy acting.
If Horne seems almost too good to be true—handsome, talented, kind, in demand—he sort of is. But if he sat down for a cup of coffee with you, I defy you not to like him, and root for him.
“Star” is a word you don’t hear much in Atlanta or any regional theatre; it’s indefinable and nebulous, as is “star quality.” But whatever it is, I think Jonathan Horne has it. Watch for him; remember his name; and remember who told you.
For more about Jonathan Horne, visit jonathanhorneactor.com.
